Los Angeles had a turbulent year, a reality the Hammer Museum did’nt ignore as it unveiled the seventh edition of its Made in LA biennial. Zoë Ryan, museum’s director, noted that Angelenos have faced a cascade of hardships, from destructive wildfires in January to ongoing Immigration and Customs Enforcement raids that began in the spring.
She also pointed to rising political attacks against diversity efforts and even against the presentation of historical narratives in cultural institutions. Weeks later, Los Angeles County would declare a state of emergency to support residents affected by the raids.
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Despite the instability gripping the region, this year’s Made in LA biennal showcases 28 artists whose work reflects both continuity and immediacy. While many participants were selected last year, several produced new pieces right up to installation.
LA biennial explores echoes of the city
Lead curators Essence Harden and Paulina Pobocha stressed that they did’nt establish a thematic framework; instead, they immersed themselves in the local art scene, visiting more than 200 studios. Their goal, they said, was simply to see as much as possible and talk with artists working in or closely tied to Los Angeles.
The resulting exhibition blends painting, sculpture, video and performance, with many works directly responding to the city’s uneasy present.
The lobby installation sets an uplifting tone: recreations of three murals Alonzo Davis originally painted for the 1984 Olympic Games. Set against a rich blue background, the panels overflow with hearts, eyes and Olympic rings, evoking a more optimistic era and subtly anticipating Los Angeles’s next turn as Olympic host in 2028.
But nearby, a more urgent message appears in a neon sign by Pasadena-born artist Patrick Martinez, declaring “Agua Is Life; NO ICE,” a piece that introduces his larger installation in an outdoor corridor. Made in LA biennial will be at the Hammer Museum until 1 March 2026.
